This church is one of the most interesting achievements of the 1950s due to the new expressive language used by the two architects. Most churches built in that decade have drawn inspiration from this project’s poetics of the essential.

The plan comes from the mixture of three geometric shapes: hexagon, circle and square.

The altar, closed in the hexagon, faces the worshipers, in the Milanese tradition and anticipating the liturgical reform of the Second Vatican Council, that would come a few years later.

The inner space is traditionally divided into one nave and two aisles, while a pronaos lies before the entrance. The outside baptistery stands in front of the façade.

Light is the protagonist here, since it defines the spaces; it floods in through openings located behind perforated walls of the women’s galleries and hidden to the sight to avoid any relationship with the outside, thus maintaining worshipers’ concentration and attention. The skylight in the dome, instead, focuses lighting on the presbytery area.

The reinforced concrete structure is based on a four-pillar, 14x10 meter module, which is repeated three times and forms the aisles. A brace beam crosses the nave and supports a huge cross made out of concrete and crystals by Costantino Ruggeri.